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    Movie Review

    Visceral mother! is an insane metaphorical ride

    Alex Bentley
    Sep 14, 2017 | 4:15 pm
    Visceral mother! is an insane metaphorical ride
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    There are times when you can go to the movies, turn off your brain, and simply enjoy whatever is presented on the screen as what it is. mother!, despite being one of the most insane spectacles in recent film memory, is not one of those films.

    You must pay attention to every second of the film because there literally is not one moment that isn’t represented by metaphor. The logline of the film is “A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence,” but that simple statement does little to prepare you for the craziness it hides.

    Jennifer Lawrence and Javier Bardem play that couple, who live in an idyllic house in the middle of the country. The uninvited guests are Ed Harris, a doctor, and his wife, played by Michelle Pfeiffer. Right from the start, Lawrence is tormented constantly. It begins slowly, with Bardem overruling her reasonable objection to allowing two strangers to stay in their house.

    But things escalate quickly, with Pfeiffer, especially, proving to be the house guest from hell, pushing Lawrence around at every turn. When Lawrence turns to Bardem for support, she receives the equivalent of a shrug, making her feel even more isolated. After the guests’ two sons show up and start a heated argument in the house, that’s when things really go off the rails.

    If you wonder why I’m referring to the characters by the actors’ names, that’s because none of them have real names. The film is heavy with Biblical references, and once you start understanding whom each character represents, the ideas that writer/director Darren Aronofsky tries to impart make a little more sense. A little.

    But even if you’re able to comprehend the film’s metaphors, you’ll still be stunned by the swiftness in which events go from zero to outrageous. Many more people than just the initial houseguests make their way to the house, and each of them treats Lawrence with the same respect she’s gotten up to that point — which is to say, none.

    It’s clear that Aronofsky has a dim view of the worth of humanity, as few, if any, of the people in the film have any redeeming qualities. They wantonly destroy things, run roughshod over Lawrence, and generally cause chaos. Aronofsky is far from the first to proffer an opinion on the destructive nature of humans, but the extent he goes to to express his disdain is impressive.

    Lawrence is put through the wringer by the film, and it’s to her credit that she’s able to modulate her reactions as well as she does. The level of frustration brought on by the other characters indicates how fine a job the other actors — most notably Bardem, Harris, and Pfeiffer — do, as well.

    mother! is a visceral, wild movie that may confound you as much as it entertains you. Aronofosky’s vision may not be for everyone, but it’s a hell of a ride.

    Javier Bardem and Jennifer Lawrence in mother!.

    Javier Bardem and Jennifer Lawrence in mother!
    Photo courtesy of Paramount Pictures
    Javier Bardem and Jennifer Lawrence in mother!.
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    Movie Review

    Rose Byrne fights for her life and car in new movie 'Tow'

    Alex Bentley
    Mar 20, 2026 | 10:45 am
    Rose Byrne in Tow
    Photo courtesy of Roadside Attractions
    Rose Byrne in Tow.

    Actor Rose Byrne had a banner year in 2025, getting her first Oscar nomination for her starring role in If I Had Legs, I’d Kick You. Although she came up short in that race, she’s getting another chance to prove her acting bona fides in the new film, Tow.

    In the “inspired by a true story” movie, Byrne plays Amanda, a down-on-her-luck woman who lives in her car and can’t find a job. Living in Seattle, she tries to stay in touch with her daughter, Avery (Elsie Fisher), who lives with her dad in another city, but circumstances sometimes limit their communications, especially when her car is stolen.

    The good news is that her car is found relatively quickly. The bad news is that the tow company is charging her to get her car back, money she can’t afford. Now truly homeless, she does everything in her power to right the wrong, even taking the company to court. Without much luck, she has to start staying in a women’s shelter run by Barbara (Octavia Spencer), where she makes friends with Nova (Demi Lovato) and Denise (Ariana DeBose), among others.

    Directed by Stephanie Laing and written by Jonathan Keasey and Brent Boivin, the film has relatively low stakes going for it and never really tries to make the story feel deeper than it is. The situation Amanda finds herself in is clearly a tough one, and any empathetic person would feel for her and want her to overcome her plight. But the filmmakers keep things light and never try to up the drama in any significant way.

    The issue Amanda is dealing with, being price gouged by a predatory towing company, is one with which many people can relate. But aside from helpfully underscoring Amanda’s frustration by showing the increasing number of days she is without a car, they never establish why they felt this particular story was one worth telling. Her personal issues, including a growing estrangement with her daughter, fail to conjure any big emotions.

    The filmmakers are very loose with their storytelling, especially when it comes to side characters. The presence of the women she meets at the shelter, and Kevin (Dominic Sessa), the young lawyer who offers to help her, never makes full sense other than a need for her to have other people with whom to interact. A tighter focus on what Amanda was going through would’ve helped both her and people around her feel more important.

    Byrne is a dynamic performer who’s shown great skill at both drama and comedy, but there’s nothing special about her performance here. Hampered a bit by a blonde wig and false teeth, she feels out of sorts for much of the film. The unusually high-powered supporting cast - both Spencer and DeBose are Oscar winners - makes things interesting on first blush, but none of them outside of Sessa is given much to do, so they’re mostly wasted.

    Tow will be a disappointment for anyone hoping to see more great stuff from Byrne. While she remains a fine actor, her performance and the story as a whole are nowhere near the level shown in her previous film. The real life predicament shown in the film also never rises to the level of being of something worth showing to the masses.

    ---

    Tow is now showing in theaters.

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